Music Reviews




Damn shame how Entombed’s getting no love these days, what with the Roadrunner fiasco (Same Difference), a scarcely promoted record (Black Juju), a live one released against their wishes (Monkey Puss), perpetually delayed domestic releases, ever-present label woes, and a cold-shouldered indifference afforded them by the general public. However, Uprising, the band’s latest, should more than rectify the situation, despite the lengthy wait for this record to find a proper domestic release. Although the band’s first two albums (Left Hand Path and Clandestine) rightfully put Swedish death metal on the map, it was their third album, 1993’s Wolverine Blues, that found Entombed royally fucking shit up (sonically and socially), as a gas-guzzling “death n’ roll” sound emerged, one which was equal parts Motörhead and… well, Entombed – basically, more puking up beer than puking up blood. But for as shape-changing to the death-metal realm as that album proved to be, it was 1997’s To Ride, Shoot Straight and Speak the Truth! where Entombed rocked harder and dynamically and with more focus and fierceness, even dropkicking some Jesus Lizard angularities into the squarely punted mix; arguably, it was their finest post-_Clandestine_ hour yet. Well, Uprising pretty much follows the same route as if three troubled, semi-lackluster years haven’t passed, this time the quintet piling gooier gobs of doom high and proud upon their already molten brew – and, after all these years, Entombed still deliver the most woofer-blown guitar production around. Sure, the sounds may be familiar to many, mainly because these sounds have become the new “Entombed sound,” but Entombed generates such a thoroughly red-in-the-neck headbang, they stand alone and dignified, clench-fisted unfazed by the trends they helped spawn and the fickle fans who’ve moved on to more gimmicky territory. Oh, yeah – kudos to Entombed for reviving their old logo.

Metal-Is, 369 Lexington Ave., New York, NY 10017,

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